With “Madame l’Aventure”, the 38th Spring of Actors, in Montpellier, is having a good time!
Ne vous fiez pas à cette photographie de répétition, “Madame l'Aventure” de Clémence Jeanguillaume et Lionel Dray est une splendeur visuelle ! DR
Fantastic and delirious creation by and with Clémence Jeanguillaume and Lionel Dray, "Madame l'Aventure" can be seen at the Théâtre des 13 Vents, as part of the 38th Spring of Comedians, in Montpellier from Friday June 7 to Sunday June 9.
"Adventure is adventure, it is like love, it is in me forever& ;quot;, said a philosopher, unless it was Johnny Hallyday ? In any case, she is already working on Jean-Pierre's guts, the adventure, when & rsquo;open Madame l’Aventure given at the Théâtre des 13 Vents, as part of the 38th Spring of Comedians. Jean-Pierre (Lionel Dray), is the knight with a sad face, who sprained himself (he has crutches) to limp to us on the chessboard ’ ndash; Lynchian – of destiny. He has a large panel hanging on his back where, it is assumed, his plans for the comet are pinned up. He is not alone. Neither in her head nor outside of her.
Dragon Queen
In the garden, in fact, a series of powerful highway-type street lamps. At court, a reduction of Citroën Ami-8 housing a sofa, a keyboard, a sound console, a cymbal, in short a whole mess. At the back of the stage, a curtain of large garage-style plastic slats. And sitting not far away, a funny princess (Clémence Jeanguillaume) whose strange hennin also covers her face, leaving only her mouth visible; which is practical because she coos a chant. When she stands up, she reveals that she is perched on extreme heeled red boots. She's not a princess but a queen, a dragon queen…
So the good scrapper and the well-bodied want to free us on the adventure, and to be there, go there ? To give each other courage, they kiss each other greedily. A lot. "If the death of a star is the condition for its brilliance, so is it also with adventure",< /em> questions (and worries) the cheater-death-albeit.
Chaptered exploration
After this hilarious prologue, the serious business (or almost) begins. A light panel announces the first chapter: Explosion of the known. Silent, and oh so burlesque, the sequence sees our adventurer fighting against shadows, striking with his waist and thrust in spurts of blood represented by his sweetheart using colored pigments, all against a backdrop of electro discoid. You remember Metropolis colorized, dynamited, by Georgio Moroder ? Well, it's the same thing with more fencing: it's just hilarious!
The next chapter, The Tower of Anecdote, is its anti-spectacular counterpart. "Is adventure just around the corner ?",asked one philosopher, another, unless it was Jacques Dutronc ? Listening to Jean-Pierre tell the epic story of his quest for bread, and his loss of the keys, the answer is undoubtedly positive. But here comes Death, bare head, carnivorous smile, who invites himself to sing the chant of the ontological absurdity of the mortal condition (or something like that).
Without transition, chapter 3, On the theory of adventure. We find JP and Madame l’Aventure (come on, we recognized you) aboard the Ami-8. Ouch, exit from the road, exit from the frame. This is the beginning of a conference on active and passive adventurers, perhaps learned but not pedantic, impossible: their voices are filtered, heliumized, ridiculed. "We're going to laugh tonight!" And it’s not over… but we will not reveal more because a large part of the pleasure that Madame l’Aventure provides is due to the surprise of her discovery.
Fucking on purpose
If it is indeed obviously based on a severe study of the concept of adventure, if it is full of sharp or cutting references (Don Quichotte and Le Mont Analogue, for the most obvious), if he takes care to chapter its progression, its maieutics remains deliberately disheveled, full of knots, shaggy. Why ? Well, because the adventure has to be wild! To narrative continuity, Madame l’Aventure prefers the happy accident and the fiction session, the piece of bravery and lunar fragment, the pensive painting and the pictorial dream… In short, go in all directions, without ever losing those of humor, beauty, desire…hellip;
Lionel Dray proves irresistible in all registers of acting, from pantomime to contemporary, including tragedy and clown. Also excellent, Clémence Jeanguillaume also produces powerful and hypnotic synthetic music live under the influence of Tangerine Dream and John Carpenter. In pairs, and with their help with the masks, the costumes, the lights, they produce fantastic and delirious visions, evoking a cross between Terry Gilliam and Alejandro Jodorowsky, which are worth the detour. You should always let yourself be tempted by adventure.
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